"A haunted happening in the shadow of our transience"--Toni Bentley on Nureyev. (Updated again Tuesday. Scroll down)

Here's the whole incredible paragraph...

"They pay us," Nureyev once said, "for our fear." Sure, vanity, self-indulgence and cruelty ran rampant throughout his short, tempestuous life. But he faced death with defiance not only when he was dying. In daring to be so vehemently, disobediently alive, he faced it, for us, every time he stepped onstage. Great dancing, unlike good dancing, is an experience of beauty laced with pity, a haunted happening in the shadow of our transience. Dancers are willing slaves to the time and gravity that rule us all, and dancing is mortality in motion. Ultimately, even Rudolf Nureyev was not paid enough for his courage.

...from Bentley's NY Times book review on the Nureyev bio. (Choreographer Lise Brenner expressed similar sentiments here. Scroll down a bit.)

And here's another paragraph--the best explanation I've read for why he would have danced so far past his prime:

In his final years, Nureyev insisted on literally, excruciatingly, dying before our eyes, giving performances so ragged and inept that audiences whistled and demanded refunds -- which suggests something besides simple flouting of the cardinal rule that performers should know when to retire gracefully. He was ill, but the stage was his only real home, so he stayed there. He demanded, somehow, that we see the suffering human behind the Dionysian god. He continued to the end in that transparent recklessness that was his deepest gift as a dancer. Nureyev, like Maria Callas (as Clive Barnes once noted), popularized and changed his art form forever, with a combination of technique, dedication and respect for its tradition, while simultaneously blowing it wide open with a kind of divine individual desperation.


UPDATE Sunday:

From Foot contributor Eva Yaa Asantewaa: That whole review rocks, but Nureyev's own words--"They pay us for our fear"--rock steadiest of all.


Apollinaire responds: I'm glad you liked it, Eva. Re: Nureyev's words, other performers have told me about that pure, primitive terror of being out in front of the spotlights, like a gladiator. It surprised me. I'd always assumed that performers, being performers, weren't so prone to nerves. But, in Nureyev's case especially, it makes sense. He holds so little back, as if he had to propel himself past his fear.


UPDATE Tuesday:
Choreographer/dancer Clare Byrne writes in: Wow, very interesting. This makes me think there's nothing humans are fascinated in seeing more than someone self-destruct or be destructed right in front of their eyes: the inevitable witnessed.

This is why we can't get away from "The Rite of Spring" and its variants -- it's the only, the one, the single all-encompassing theme, and choreographers and dancers know it.


Apollinaire responds: Interesting point, Clare, that dance involves a level of sacrifice (in all sorts of senses) that people can't turn away from.

It's probably why the dance feature story that will not die is about the dancer who wears herself to the bone (sometimes literally) for Dance. Readers--and editors--can never get enough of that one.

[Nureyev mania on Foot began with this commentary on the PBS documentary of his youthful days in Leningrad, moved on to outrage at the reviews of Julie Kavanagh's new mammoth biography that used the occasion to trash Nureyev, and relief at one and then another review that did more justice to the man than the bio itself.]

December 1, 2007 11:35 AM | | Comments (0)

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Topics on Tap

Monday August 2: a bouquet of summer dances--and reviews
Tuesday July 13 Apollinaire opens mouth especially wide--to give the Dance Critics Association's keynote address. Foot in Mouth readers get special reduced ticket price. 
Thursday July 1 Intergalactic Savion and his ancestors on earth: Tap goings-on this month.
Saturday, June 19 Ashton, contemporary ballet premieres, Graham and John Jasperse: dance all around town 
Friday May 28: Pathos and bathos: Baryshnikov and Lady of the Camellias
Monday May 24: 19th century ballet, contemporary ballet, and postmodern dance: a week in May
Saturday May 1 Stephen Petronio mesmerizes
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Contributors

Eva Yaa Asantewaa 

has written dance journalism and criticism since 1976, published most notably in Dance Magazine, Soho News, The Village Voice, The New York Times, The Philadelphia Inquirer, and Gay City News, and on her own blog, InfiniteBody.

Paul Parish 

is a regular contributor to Danceviewtimes and San Francisco magazine, and has contributed to many other publications. He was a Rhodes Scholar same time as Bill Clinton. He lives and dances in Berkeley.

Me Elsewhere

About this Entry

This page contains a single entry by foot in mouth published on December 1, 2007 11:35 AM.

Who woulda thought? A lovely Bejart ballet was the previous entry in this blog.

Matthew Neenan, Pennsylvania Ballet's terrific resident choreographer. Plus, a note on Performa 07. is the next entry in this blog.

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